Cinema devolved into the slow-motion industry: spectacles repeat. Ultima Ratio speeds up by slowing down the image-fix. Traversing the crime-enriched Bekaa valley, the camera uncovers the age-old industries of hashish, models for altering what we see. So too, the camera follows futures, a flash-forwarded optic that seeks to perceive what can be seen anew, cut, particled into vivid fields of matter. “In hashish there is no likeness,” only zero-sites for vision-production then, now as visual senses submitted to the rule of reason. The new reason, as this cinematic skin sees it, is not dead old technology, power and blood, not accelerated nothingness, hype and retro-fascism, but technology, each and every instance, as a talking with the dead – emotions, optics, hashish, radio transmitters, melodramas, fiber optic telecommunications, ideologies – and now, hashish as primitive technology, the Now as a science-fiction beyond the double binds, the bad infinities of u-/dys-topia.
A cinema mixing 3-D objects and documentary footage views this state ahead of the state Δ the future returning as past – Mountain of the Sun.
Lebanon / Canada
13’ · Colour · 1-Kanal-Videoinstallation
Bahar Noorizadeh, born in 1988, in Tehran, Iran, is an artist, writer, and filmmaker. She is a founding member of BLOCC (Building Leverage over Creative Capitalism), a research and education platform that seeks to alter the relationship between contemporary art and gentrification. Noorizadeh is currently pursuing her practice via the collaborative project The Art Protocol, a think-group, website, and support structure dedicated to extracting logistically viable guidelines for negotiating the informal economy of contemporary art.Filmography
2012 Lingo 2013 Amphibrach 2014 During Japan Tsunami a Strange Creature was Caught on Camera 2015 Wolkaan 2017 Ultima Ratio Δ Mountain of the Sun
Bio- & filmography as of Berlinale 2018